This document discusses two design projects that aimed to address social problems rather than user or engineering problems. Both projects used a Vision in Product design approach to first define a strategic product aim before considering the product design. The first case addressed social cohesion by aiming to increase the number of initial relationships between people from different backgrounds through contact initiatives. The second case addressed gender inequality in the workforce by aiming to make masculine and feminine qualities equally valued through a game that reframes gender stereotypes. Both cases followed a similar reasoning pattern of reframing the social problem and taking intermediate steps to define an appropriate strategic product aim, resembling a systems thinking approach.
More info: http://thinkbrisk.com/brisk_2-cases/
We are avid on-site field researchers, immersing ourselves in our target groups, observing, interviewing, co-creating to capture their specific and unique human needs & expectations with methods from anthropology, ethnography, tech. management and design research. We’ve published these insights at conferences in London, Copenhagen, Boston, LeMans, Munich, Seoul and counting.
Here’s a quick recap of 4 of these Design Insights:
- Cook & Connect: Designing Urban Collaborative Cooking Spaces for Local Produce
- Exploring the Impact of Context Factors in Quick and Correct Use of Public Interfaces
- Mindset beyond the Myth: User Research about the Effectivity of Design Thinking Workshops in Semi-Open Ecosystems
- Decoding Privacy: Perceptions, Conflicts and Strategies of Privacy in the Mobile World
For background info on our field insights or your own research project, don't hesitate to get in touch!
research@thinkbrisk.com
How Design Thinking works, or: Design Thinking Unpacked: an evolutionary algo...J. M. Korhonen
A presentation accompanying a paper* presented at EAD 2009 conference in Aberdeen, Scotland. We're trying to develop a theory why "design thinking" works in practice, and what may be its limits. The idea is that "design thinking" has similarities to a general class of algorithms known as evolutionary algorithms, and some comparisons can be made.
* Korhonen, J. M. & Hassi, L. (2009). Design Thinking Unpacked: An Evolutionary Algorithm. In Proceedings of the Eight European Academy of Design International Conference, 261-265. Aberdeen, UK.
More info: http://thinkbrisk.com/brisk_2-cases/
We are avid on-site field researchers, immersing ourselves in our target groups, observing, interviewing, co-creating to capture their specific and unique human needs & expectations with methods from anthropology, ethnography, tech. management and design research. We’ve published these insights at conferences in London, Copenhagen, Boston, LeMans, Munich, Seoul and counting.
Here’s a quick recap of 4 of these Design Insights:
- Cook & Connect: Designing Urban Collaborative Cooking Spaces for Local Produce
- Exploring the Impact of Context Factors in Quick and Correct Use of Public Interfaces
- Mindset beyond the Myth: User Research about the Effectivity of Design Thinking Workshops in Semi-Open Ecosystems
- Decoding Privacy: Perceptions, Conflicts and Strategies of Privacy in the Mobile World
For background info on our field insights or your own research project, don't hesitate to get in touch!
research@thinkbrisk.com
How Design Thinking works, or: Design Thinking Unpacked: an evolutionary algo...J. M. Korhonen
A presentation accompanying a paper* presented at EAD 2009 conference in Aberdeen, Scotland. We're trying to develop a theory why "design thinking" works in practice, and what may be its limits. The idea is that "design thinking" has similarities to a general class of algorithms known as evolutionary algorithms, and some comparisons can be made.
* Korhonen, J. M. & Hassi, L. (2009). Design Thinking Unpacked: An Evolutionary Algorithm. In Proceedings of the Eight European Academy of Design International Conference, 261-265. Aberdeen, UK.
Building Design Knowledge: Creating and Disseminating Design Precedentcolin gray
An invited lecture at Iowa State University on October 9, 2014. This talk focused on the role of design precedent and knowledge-building within the instructional design community, with specific guidance on preparing design cases for publication in the International Journal of Designs for Learning.
Design Toolbox — teaching design, its processes & methodsMartin Jordan
‘Design Toolbox’ was a 3-week design class that examined a practical understanding of design, its process and methods through inputs, hands-on sessions and small assignments.
Taught at University of Applied Sciences Potsdam, Germany in October 2013.
Presentation is based on Lumiknows experience of integrating design thinking into Russian organizational culture including Beeline, Promsvyazbank, Intel Russia, Sberbank and many others. By Ekaterina Khramkova, Lumiknows, 2015
DESIGN THINKING RESOURCES is free PDF collection with very inspirational books, tools, toolkits, blogs and companies in the subject of Design Thinking and Service Design.
Author: PLEO group, Paweł Krzciuk
http://pleogroup.com/
2018/1/26 Design Thinking Workshop at CJJHDaniel Lee
Giving practical and simple introduction to Design Thinking to the audience. Students in Taichung Municipal Chu Jen Junior High School can learn Design Thinking as a problem solving process through the design challenge.
This set of method cards introduces briefly the design thinking approach. It explains the design process as well as the prototyping phases of design thinking projects.
There basically 2 ways of getting involved with the University of St.Gallen in order to have a design thinking team working for your organization.
1. Design Thinking @ HSG
2. Embedded Design Thinking
Both ways are explained in the set.
For more information visit http://dthsg.com
This workshop had 5 main goals:
1) Overview about design thinking
2) Understand a bit about how our mind works through the 30 circles exercise
3) Work deep on the problem definition
4) Brainstorming through using Disney Method to stimulate the creative side of the mind
5) Prototype something tangible
Design Thinking Dallas by Chris BernardChris Bernard
These are the slides I gave for a keynote at a conference hosting by IMC2 for the Design Thinking Dallas Conference. Some of the content here is repetitive across other presentations I give.
Questions? Email me at chris.bernard@microsoft.com
Guest lecture to first year Bachelor of IT students at Queensland University of Technology in unit INB103 Industry insights, 8 March 2013.
Please note: due to the introductory nature of this lecture to the concept many of the resources have been adapted from the Stanford D School cc licensed resources.
This is the Second out of Seven Articles
co -written by
Steinar Valade-Amland and myself
on
Design Thinking, Design Management
and how to coordinate both strategically .
If you miss number 1/7 send me an email bbm@designence.com and I will send it to you .
Building Design Knowledge: Creating and Disseminating Design Precedentcolin gray
An invited lecture at Iowa State University on October 9, 2014. This talk focused on the role of design precedent and knowledge-building within the instructional design community, with specific guidance on preparing design cases for publication in the International Journal of Designs for Learning.
Design Toolbox — teaching design, its processes & methodsMartin Jordan
‘Design Toolbox’ was a 3-week design class that examined a practical understanding of design, its process and methods through inputs, hands-on sessions and small assignments.
Taught at University of Applied Sciences Potsdam, Germany in October 2013.
Presentation is based on Lumiknows experience of integrating design thinking into Russian organizational culture including Beeline, Promsvyazbank, Intel Russia, Sberbank and many others. By Ekaterina Khramkova, Lumiknows, 2015
DESIGN THINKING RESOURCES is free PDF collection with very inspirational books, tools, toolkits, blogs and companies in the subject of Design Thinking and Service Design.
Author: PLEO group, Paweł Krzciuk
http://pleogroup.com/
2018/1/26 Design Thinking Workshop at CJJHDaniel Lee
Giving practical and simple introduction to Design Thinking to the audience. Students in Taichung Municipal Chu Jen Junior High School can learn Design Thinking as a problem solving process through the design challenge.
This set of method cards introduces briefly the design thinking approach. It explains the design process as well as the prototyping phases of design thinking projects.
There basically 2 ways of getting involved with the University of St.Gallen in order to have a design thinking team working for your organization.
1. Design Thinking @ HSG
2. Embedded Design Thinking
Both ways are explained in the set.
For more information visit http://dthsg.com
This workshop had 5 main goals:
1) Overview about design thinking
2) Understand a bit about how our mind works through the 30 circles exercise
3) Work deep on the problem definition
4) Brainstorming through using Disney Method to stimulate the creative side of the mind
5) Prototype something tangible
Design Thinking Dallas by Chris BernardChris Bernard
These are the slides I gave for a keynote at a conference hosting by IMC2 for the Design Thinking Dallas Conference. Some of the content here is repetitive across other presentations I give.
Questions? Email me at chris.bernard@microsoft.com
Guest lecture to first year Bachelor of IT students at Queensland University of Technology in unit INB103 Industry insights, 8 March 2013.
Please note: due to the introductory nature of this lecture to the concept many of the resources have been adapted from the Stanford D School cc licensed resources.
This is the Second out of Seven Articles
co -written by
Steinar Valade-Amland and myself
on
Design Thinking, Design Management
and how to coordinate both strategically .
If you miss number 1/7 send me an email bbm@designence.com and I will send it to you .
Over the past decade “Design Thinking” has gained currency, initially within design agencies and their commercial work, in design education, and now within the public
and third sector. Design Thinking, as a methodology, it is claimed, solves problems – no matter what they are, no matter how hard. In the context of a wide-ranging critique of public service provision as costly, bureaucratic and often ineffective it is hardly surprising that some are looking to Design as the perfect partner for the Big Society. In this essay
we start by outlining the similarities between Design Thinking and the Big Society. Our attention then shifts to the messy and complex world of social problems and the potential of Design Thinking to intervene. We draw a distinction between the personal troubles of individuals and social problems, and argue that for Design Thinking to work within the latter, it needs to expand its conceptual toolbox. We argue for a refocus away from coming up with solutions to designing problems: for Design to actively, purposefully and reflexively participate in the making and molding of social problems. We then examine some of the features of Design that make it a strong candidate for being involved in such an activity as well as explore the demands that this will inevitably make on Design and designers.
A presentation for the DEFA 2015 conference regarding ethics and accountability in design. In particular we (Jason Hobbs and Terence Fenn) look at ethical challenges in human centered design.
Sharing in our series 5/7 : The two forces of Design Leadership (DT ) and Design Management ( Follett theory " power WITH " vs power OVER ) and their convergence . Aesthetics in organization theory . ROI of investing in Design .
Article # 7 The Design Management series Epilogue and a story from real life Brigitte Borja de Mozota
Thank you for your joyful support in these 7 Design Management series . Join us in the conversation to co -design the concluding article . Have a good read . Steinar & Brigitte
How Design Theories Evolved from User-Centered Design to Design Thinking.pdfWorxwideConsulting1
From textiles to architectural drawings to digital devices, every product is created with a function—and a user— in mind. Around mid-twentieth century, designers began considering “human factors” (also called ergonomics) to products, services, and interfaces to address human users’ needs. It has led to the evolution of designing theories and shift in designer’s point of attention.
Let’s see how?!
Collection of essays edited focused on markting shift consequences coming from ‘2.0 cultural transition’ through design, philosphy, web and music.
This presentation summarizes the 4th essay, dedicated to design. If you’re interested to full text email
How many times have you seen design solutions that showcased male chauvinist attitudes or marketing content that exhibited racial or gender biases?
For more visit at: https://tinyurl.com/7nt69cjv
A few slides from a class session in the Carnegie Mellon School of Design, "Foundations of Practice for Social Design." I'm putting them up for folks who arrived here from my "notes on participatory design' on medium.com.
The Design Management series 6/7 : How design relates to your corporate strategy .
Choose Design competitive advantage .
External "design value you can see " in your marketing and R&D strategy ?
or Internal "design value you can't see " design as a core competency based on designers skills and changing your company 's Knowledge Capital ?
Design Thinking in Project Management for Innovationijtsrd
Primary objective of this paper is to understand the concepts related to Design thinking in respect to project management. Now Design thinking has been part of every industry seeking solutions for innovation for the great products and solutions for the end user to create a large horizon of growth in competitive markets. In order to effectively apply design thinking approaches, methods, and principles extensive theoretical research is needed with proper guidance. As per most of leaders agrees that standard approaches to project management are not up to mark for driving the innovation particularly because of uncertainty and complex in nature. Also, leaders thinks that project management is hard to drive large man force while implementing rapid changes in the environment or business areas. As per theories, new ideas can only be part and important pillar of innovation. With the rise in competition and new technologies like cloud innovation is necessity for being into market. Shubham Tomar "Design Thinking in Project Management for Innovation" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-7 | Issue-1 , February 2023, URL: https://www.ijtsrd.com/papers/ijtsrd52738.pdf Paper URL: https://www.ijtsrd.com/management/innovation-and-product-dev/52738/design-thinking-in-project-management-for-innovation/shubham-tomar
Similar to A Clash of Concerns: Applying Design Thinking to Social Dilemmas (20)
Rendre la critique créative. La démarche abductive et pragmatique du design E...Geoffrey Dorne
La démarche à la fois abductive et pragmatique du design se nourrit du terrain puis s’en détache pour proposer des scénarii à vivre, se préoccupant de l’expérience humaine dans toutes ses dimensions. Sa vocation est d’« améliorer ou au moins maintenir l’habitabilité du monde » (Findeli, 2010, 292). Basé sur un dialogue entre textes et retours d’expériences de l’auteure, designer chercheuse française, cet article vise à dresser un portrait du praticien réflexif et à dessiner quelques jalons pour outiller sa démarche, portée par un questionnement éthique. Les notions théoriques seront interrogées au regard de l’expérience, des rencontres interdisciplinaires, et des paradoxes de l’identité flexible du praticien réflexif. Renégociant perpétuellement son positionnement ainsi que ses outils, c’est une force à la fois critique et créative que celui-ci cherche à exercer dans les entreprises et la société au sens large.
Cette 23e édition de Graphisme en France propose, pour
la première fois, un objet central dans la pratique des designers
graphiques : les logotypes et les identités visuelles.
Ce sujet très large est abordé selon plusieurs aspects
qui tendent plus à une compréhension globale des origines
et des pratiques qu’à une quelconque exhaustivité.
Ainsi, Roger R. Remington, historien et directeur du Vignelli
Center for Design Studies, revient sur les origines et
les développements des identités visuelles aux États-Unis.
La traduction d’un texte de Paul Rand datant de 1991 permet de
comprendre la position de cet immense designer qui a aussi
beaucoup écrit sur sa pratique. Vivien Philizot, lui même designer
et chercheur en études visuelles, nous invite à un parcours
sur l’histoire des logos, et décrypte leur impact et leur sens dans
notre environnement visuel. Ruedi Baur, designer et concepteur
d’innombrables identités visuelles pour des institutions en France
et à l’étranger, partage ses préconisations au regard de
son expérience. Enfin, Martin Lorenz, designer, nous fait part
de ses recherches sur les identités visuelles fluides, suscitées
par la généralisation des supports numériques.
Cette nouvelle édition est l’occasion d’une collaboration
avec Elsa Aupetit et Martin Plagnol. Diplômés de l’École nationale
supérieure des arts décoratifs de Paris en 2012, ils ont fondé l’atelier
Kiösk en 2015. S’inspirant de la structure des chartes graphiques,
ils ont conçu ce document à la manière d’un ouvrage technique.
L’utilisation du caractère typographique Programme, créé
par les designers suisses de Maximage, permet des variations
tout en donnant à l’ensemble une identité forte.
Comme chaque année, le calendrier des événements
organisés dans toute la France témoigne d’initiatives et de projets
toujours plus nombreux. Le Cnap accompagne et promeut par
de nombreuses actions ce réseau de diffusion national du design
graphique et de la typographie afin de permettre une meilleure
reconnaissance de ces pratiques et d’aller à la rencontre d’un public
toujours plus large.
Cette année encore au Campus Fonderie de l’Image, nous accueillons des professionnel-les pour les Puces de l’Illu #4, le marché de l’illustration contemporaine. Illustrateurs, illustratrices, éditeurs, éditrices, galeristes et libraires indépendants viendront vous présenter leurs œuvres samedi 10 et dimanche 11 décembre 2016 de 10h à 19h. Ces deux journées de rencontre sont l’occasion de mettre en valeur le design graphique , l’illustration sous tous ses formats et sa production artisanale et numérique.
Les Puces de l’Illu seront inaugurées par un colloque à destination des étudiant-es le jeudi 24 novembre sur la parité dans la création visuelle intitulé 93 % meufs, 100 % illustration, Parité, nf : égalité entre illustratrices et illustrateurs mettant en lumière les question des solidarités et des discriminations de genre.
Amateurs-trices, passionné-es, engagé-es ne manquez pas ces journées riches en découvertes graphiques !
1. Le design et les métiers d’art : deux secteurs économiques en plein essor représentant un atout
formidable de la France
Le design et les métiers d’art font partie des « industries créatives » (ICC) dans la terminologie
européenne qui représentent aujourd’hui près de 2,6 % du PIB européen et ont un taux de
croissance supérieur à la moyenne. Le chiffre d’affaires du design en France est estimé en 2010
entre 1,9 et 3,4 milliards d’euros.
Le nombre de designers exerçant leur activité à titre principal se situe, en 2010, entre 30 et 33 000,
l’effectif total concerné par l’activité design étant estimé entre 46 et 56 000 personnes, dont 50 %
intégrés dans des entreprises et 50 % indépendants.
Le design n’est plus une question de forme et d’esthétique
Depuis « l’esthétique industrielle » de l’aprèsͲguerre, le design a gagné tous les domaines de la
relation entre l’homme et la machine, entre l’homme et son environnement. Centré davantage sur
l’utilisateur que sur l’objet, le design s’est étendu à des méthodes de management avec le design
Thinking, aux sciences de la conception. Touchant des domaines aussi divers que les nouvelles
technologies, l’écoͲdéveloppement, les politiques publiques et sociales, il est par essence
pluridisciplinaire, polysémique et intégrateur. Le design s’est imposé dans la société civile à la croisée
entre l’art, la science, la technologie, les humanités numériques et il est en totale connexion avec le
monde d’aujourd’hui dans sa réalité concrète et économique.
Il a sa place au MIT à Stanford et dans tous les grands établissements qui pensent et préparent
l’avenir de nos futurs modes de vies, « villes connectées », « prothèses intelligentes », « supports
numériques » etc.
La légitimité d’une recherche en design aussi bien dans les écoles d’art, à l’université que dans les
écoles d’ingénieurs ou de commerce ne devrait plus être sérieusement contestable.
« Architectes, sculpteurs, peintres, tous nous devons retourner à l’artisanat » écrit l’architecte Walter Gropius dans son manifeste du Bauhaus. Fondé en 1919 à Weimar, dissout en 1933 à Berlin face à la montée du nazisme, le Bauhaus est une école d’enseignement artistique qui s’est imposée comme une référence incontournable de l’histoire de l’art du XXe siècle. Elle a été créée par Gropius pour rendre vie à l’habitat et à l’architecture au moyen de la synthèse des arts plastiques, de l’artisanat et de l’industrie.
Le guide de la bonne relation entre annonceur et agence en designGeoffrey Dorne
Qu’il s’agisse de marques produits, de
lieux ou d’entreprises, la mission d’une
agence de design est de créer des uni
-
vers émotionnels spécifiques pour les
marques, univers porteurs de valeurs
pour les différentes parties prenantes
(consommateurs, prescripteurs, colla
-
borateurs, partenaires…).
Les agences de design françaises
emploient plusieurs centaines de desi
-
gners, formés dans les meilleures écoles
d’art graphique, imprégnés de cette
culture et de ce sens des marques qui
rendent leur travail si pertinent. Ce sont
aussi des stratèges qui auscultent les
tendances de nos sociétés pour en anti
-
ciper les grands mouvements.
Brand packaging, retail design ou corpo
-
rate branding, les métiers des agences
sont aujourd’hui tous largement digi
-
talisés.
POUR L’ADC
Frédéric MESSIAN
Président
POUR L’UDA
Étienne LECOMTE
Président
Pierre-Jean BOZO
Directeur Général
Les agences imaginent et donnent
corps à de nouvelles expériences de
marque, physiques et virtuelles, qui
accompagnent la transformation pro
-
fonde et durable des modèles écono
-
miques des entreprises.
Le design est une discipline qui s’ins
-
crit dans le long terme, parce qu’une
marque doit pour s’imposer respecter
son ADN. Mais le design est aussi la dis
-
cipline du temps court. Au-delà de l’an
-
ticipation des tendances, il suscite et
accompagne l’innovation.
Levier de transformation et de création
de valeurs puissant, la marque est plus
que jamais au cœur des préoccupations
de l’ensemble des entreprises.
Résultats de l'enquête relative aux tendances typographiquesGeoffrey Dorne
Les polices jouent un rôle essentiel dans les projets de tout type. Les polices sont aussi
importantes pour un graphiste que les couleurs le sont pour un peintre. Les fontes
représentent en effet la palette créative du concepteur.
J'ai souhaité mieux comprendre les professionnels de la création et me plonger dans
leur univers créatif. Pour transmettre un message, une grande partie du travail créatif
repose sur des textes et des polices. Une police ou un style de police peut même être le
point de départ de tout un mouvement créatif.
Dans le cadre de cette enquête, j'ai sélectionné plusieurs styles de police vus à droite à
gauche. J'étais curieux de voir les réactions de la communauté créative à ces tendances
et styles spécifiques. Les créateurs sont les premiers acteurs des changements
typographiques observés et je souhaitais vérifier certaines hypothèses émises par les
fonderies au sujet des nouvelles polices disponibles sur le marché.
Lorsque j'ai analysé les données de notre enquête sur les tendances typographiques, j'ai
été frappé par la passion qui animait les créatifs. Les créatifs sont des professionnels
vraiment passionnés !
J'espère que votre équipe et vous apprécierez la lecture de ce document et qu'il vous
sera utile. L'enquête vous aidera peut-être à décider quels styles de police privilégier.
Vous pouvez également avoir envie de lire les résultats de l'enquête simplement pour
satisfaire votre curiosité. Quoi qu'il en soit, nous vous souhaitons une agréable lecture !
La démarche design, un outil pour renouveler les processus de l’urbanismeGeoffrey Dorne
Parti de l’univers du mobilier, le design s’est transformé en une véritable « science des processus » au service de l’homme qui se manifeste à travers une démarche d’intervention. Depuis plusieurs années, il s’intéresse de plus en plus à l’espace urbain et lui est bénéfique à de nombreux égards. Les exemples analysés permettent d’identifier les atouts que présente le design pour la ville et les impacts que celui-ci a sur les réalisations. Enfin, il s’agit de suggérer comment les méthodes propres au design peuvent être appropriées par les urbanistes afin d’adapter les processus d’intervention sur la ville à chaque contexte. Les bénéfices potentiels pour chaque acteur sont également mis en avant dans l’optique d’atteindre une ville intense
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? MémoireGeoffrey Dorne
Avant de présenter le design thinking tel qu’il sera
défini dans le cadre de ce mémoire, il nous semble
important de comprendre d’où vient cette notion.
Cette mise en perspective historique mettra en
lumière le fait qu’il n’existe pas une définition
incontestée et incontestable du design thinking.
(Chapitre 1)
Fort de ce constat, nous choisirons de traiter le
design thinking en tant que méthodologie d’innovation
développée tout au long des années 90 dans
la prestigieuse université de Stanford. Plus spécifiquement,
nous présenterons la pensée de Tim
Brown, CEO de l’agence d’innovation IDEO et apôtre
depuis une quinzaine d’années du design thinking.
Il s’agit de l’approche la plus diffusée en France ces
dernières années. (Chapitre 2)
Enfin, nous dépasserons cette vision pour mettre en
lumière les grands principes sur lesquels le design
thinking repose : la reformulation de la question
de départ, le process de design et le fait de placer
l’humain au coeur de la démarche. (Chapitre 3)
design.
En d'autres termes, pendant que la formation du
designer continue à vivre placidement à l'ombre d'un
Bauhaus déjà légendaire, l'industrial design, pour sa
part, semble être dans une situation particulièrement
critique.
L'enjeu du design industriel en 1980 - Quand on demande à un expert anglo-saxon les
raisons du succès exceptionnel de l'industrie automobile
française, au moment où ses concurrentes américaines,
anglaises, italiennes, allemandes sont en difficulté, il
répond invariablement: «Les automobiles françaises
ont un meilleur design » — signifiant par là que ce n'est
ni l'avance technologique, ni la gestion des entreprises
qui fait la différence mais l'architecture du produit, son
esthétique et sa valeur d'usage.
Le diagnostic se confirme
Le kit pratique que vous vous apprêtez à
consulter aborde, de façon très concrète,
certaines thématiques qui occupent une
place croissante dans le métier de bibliothécaire,
au premier chef la question de
l’innovation.
Pourquoi les bibliothèques sont-elles concernées
par l’innovation, une notion que l’on rattache
plus volontiers à la sphère de l’industrie
ou de la technologie ? Tout simplement parce
que, depuis que le numérique est entré dans
nos vies quotidiennes, nous vivons tous
au rythme du changement technologique.
Les pratiques culturelles n’échappent pas
à ce phénomène : elles évoluent en permanence
à un rythme parfois difficile à suivre,
même pour des professionnels. Pour ne pas
être dépassés, les bibliothécaires doivent
apprendre à observer, à comprendre et à
intégrer au fur et à mesure ces nouveaux
usages, bref, à innover.
La meilleure façon d’assimiler de nouvelles connaissances est de les mettre en pratique, c’est la raison pour laquelle chaque chapitre du guide méthodologique comporte des renvois vers les activités de ce livret. Les activités doivent être réalisées en équipe, elles peuvent nécessiter des recherches personnelles ou des déplacements sur le terrain. La durée mentionnée à chaque fois est purement indicative, vous pouvez tout à fait prendre plus ou moins de temps que prévu. Comparez le temps qui vous est nécessaire avec nos estimations, puis planifiez vos réunions en conséquence.
PDF SubmissionDigital Marketing Institute in NoidaPoojaSaini954651
https://www.safalta.com/online-digital-marketing/advance-digital-marketing-training-in-noidaTop Digital Marketing Institute in Noida: Boost Your Career Fast
[3:29 am, 30/05/2024] +91 83818 43552: Safalta Digital Marketing Institute in Noida also provides advanced classes for individuals seeking to develop their expertise and skills in this field. These classes, led by industry experts with vast experience, focus on specific aspects of digital marketing such as advanced SEO strategies, sophisticated content creation techniques, and data-driven analytics.
Connect Conference 2022: Passive House - Economic and Environmental Solution...TE Studio
Passive House: The Economic and Environmental Solution for Sustainable Real Estate. Lecture by Tim Eian of TE Studio Passive House Design in November 2022 in Minneapolis.
- The Built Environment
- Let's imagine the perfect building
- The Passive House standard
- Why Passive House targets
- Clean Energy Plans?!
- How does Passive House compare and fit in?
- The business case for Passive House real estate
- Tools to quantify the value of Passive House
- What can I do?
- Resources
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Technoblade The Legacy of a Minecraft Legend.Techno Merch
Technoblade, born Alex on June 1, 1999, was a legendary Minecraft YouTuber known for his sharp wit and exceptional PvP skills. Starting his channel in 2013, he gained nearly 11 million subscribers. His private battle with metastatic sarcoma ended in June 2022, but his enduring legacy continues to inspire millions.
EASY TUTORIAL OF HOW TO USE CAPCUT BY: FEBLESS HERNANEFebless Hernane
CapCut is an easy-to-use video editing app perfect for beginners. To start, download and open CapCut on your phone. Tap "New Project" and select the videos or photos you want to edit. You can trim clips by dragging the edges, add text by tapping "Text," and include music by selecting "Audio." Enhance your video with filters and effects from the "Effects" menu. When you're happy with your video, tap the export button to save and share it. CapCut makes video editing simple and fun for everyone!
A Clash of Concerns: Applying Design Thinking to Social Dilemmas
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A Clash of Concerns: Applying Design
Thinking to Social Dilemmas
Nynke Tromp
Delft University of Technology, Delft, The Netherlands
Paul Hekkert
Delft University of Technology, Delft, The Netherlands
Abstract
Design thinking is currently repeatedly promoted to play an important role when dealing with
pressing social issues. In line with this, we witness an increasing interest among designers to
take up these challenges that go beyond the regular design scope. However, understanding
how design thinking can be applied to social issues and what value this might have, is still
relatively unexplored in design research.
This paper reflects on two graduation projects in Industrial Design that explored how a
designer would cope with a social problem rather than a user problem or an engineering
problem. Analysing these projects on the basis of what has been described in literature as
either design thinking or typical designer skills, we suggest that the designer’s integrative
thinking and human centeredness are important when dealing with social problems. On the
basis of the typical characteristics of social problems, we will show the value of these skills in
this new domain.
Next to this, in reasoning from the complex social problem to an appropriate product aim,
both cases represent a similar pattern. This pattern of reasoning, resembling what has
been described in literature as systems thinking, seems essential in coping with the typical
complexity of social issues. We conclude the paper with discussing whether this tendency of
designers to take up social problems will bring unique value to this social domain.
1. Introduction
Although design thinking has never been precisely defined, the traditional turn in design think-
ing research has originally been to understand the designer’s reasoning patterns (Roozenburg
1993) what design ability is (Cross 1995) or what cognitive operations are used when designing
(Stempfle & Badke-Schaub 2002). Regularly, this reasoning has been researched in relation
to the type of problems designers aim to resolve, e.g., ill-structured problems (Simon 1973) or
design paradoxes (Dorst 2006), and how they particularly go about this, e.g., by (re)framing the
problem (Dorst & Cross 2001; Schön 1983), by generating solutions until one ‘satisfices’ (Simon
1969, p.64), or for instance by using visual representations.
However, in current practice, design thinking has been used to describe more than only the
designer’s cognitive skills used to get from design brief to design. In the context of business
and organizations, design thinking refers to an approach to take or a strategy to apply (Brown
2009). In this context, taking a human-centered approach or a systems view are said to be
part of design thinking. Moreover a design thinker is ascribed a wide range of qualities like for
instance being a collaborator, an experimentalist and an optimist (Brown 2008; Owen 2007).
Although the term refers to a wide variety of concepts and processes, it mainly indicates that
the role of the designer in practice is changing. And this change is of relevance to design think-
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ing research. The notion that designers move from a tactical to a more strategic role (Brown
2009; 2008) opens up new challenges for understanding what design thinking is or can be.
In this paper, we reflect on two projects in which the designers took up a social problem to
design for. We analysed both cases to see what particular design thinking skills are important
or of value in relation to social problems. Next to this, we studied both cases to see whether
reasoning patterns emerged that are not so easy recognized as typical design thinking, but do
seem important when dealing with social issues.
2. Design for Social Problems
Before describing the two design cases in larger detail, two general aspects of both cases are
described: the type of problem, i.e., social problems, and the design approach, i.e., Vision in
Product design (ViP). We shortly discuss the typical characteristics of social problems and
why they may be attractive to designers. Subsequently, the Vision in Product design method is
shortly explained and why this approach seems appropriate when dealing with social problems.
2.1 Social Problems
Social problems are typically problems we face everyday in the newspapers. They concern us
as society and therefore are called social problems. Immigration issues, littering, obesity, high
unemployment rates or crime are typical problems of social kind. A core aspect to all these
problems is that to resolve them, people substantially need to change their behaviour. However,
behaviour change is not an easy goal in itself but even gains in complexity in the light of social
problems.
Social problems often represent what are called social dilemmas (Van Lange & Joireman
2008). The typical characteristic of social dilemmas is the fact that they rise when peoples’
collective concerns (that often focus on the long term) and individual concerns (that are often
directed at the short term) are clashing. Because people are more easily driven by individual
and short-term gains, people can behave in a manner that is undesired from a social perspec-
tive. To give an example, we all know that driving to work by bicycle would be better for our
environment. Still we often prefer taking the car, as it is a convenient, efficient and comfortable
means of transport. Because a car addresses these latter individual concerns so well, taking the
car becomes hard to resist.
Governments have limited means when dealing with social problems. At best they can change
legislation or provide subsidies to actually stimulate behaviour change. But although legisla-
tion might be effective in some cases, not every type of behaviour allows for legislation. In most
societies stealing is agreed as a deviant behaviour for which legislation exists, but going to work
by car can hardly be considered deviant. For these matters, campaigns are being developed
that aim to make people aware of the benefits of a particular behaviour change. However, cam-
paigns appear less effective than hoped for (Rijnja, Seydel & Zuure 2009). The fact that social
problems are complex problems, for which the government has few solutions, might explain
partly why designers feel challenged to take up such problems.
2.2 Vision in Product design
The Vision in Product design approach (ViP) developed by Hekkert and Van Dijk (2010) puts
emphasis on the need to think of the product’s raison-d’être before thinking of the product as
such. Designers are driven to first understand what it is they want to offer to people and why,
before they are supported in thinking of how this should be given form. By doing so, the method
supports the designer to a large extent in taking a strategic position. ViP gained acknowledge-
ment from both students and practitioners since 1992 onwards and is part of education at the
faculty of Industrial Design Engineering in Delft, The Netherlands.
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When taking up a social problem to design for, the actual product to-be-designed is not defined
beforehand. This means that the designer is challenged to first decide upon an (product) aim,
which is a strategic choice, before he can think of the product as such. The fact that the ViP
approach offers guidelines in this strategic phase of the design process has been the one of the
main reasons this approach has been applied in both graduation projects.
3. Two Design Cases
The projects that will be described next represent graduation projects in which two students
developed a product with the aim to contribute to social change. Both projects represent gradu-
ation projects carried out at the faculty of Industrial Design Engineering at Delft University
of Technology for the master program Design for Interaction. Both projects were initiated by
the student and originate from a personal fascination for the topic and a personal drive to
improve the situation. The issues, i.e., the ‘failed’ integration of immigrants (Tromp 2007) and
the gender inequality on the labour market (Borgonjen 2009), have been proven hard to tackle
with traditional interventions like campaigns and regulations. In the following sections we
will describe first the steps that were taken by the designer to define the aim of the design, and
second how the product was designed to realize this aim.
3.1 Case 1: Design for Social Cohesion
The first step in this project was reframing the social problem. This reframing was done to
overcome the logical ‘solution’ to the problem of ‘failed integration of immigrants’, which is to
design something to help immigrants integrate. Defining the starting point as ‘social cohesion’
stimulated thinking of new ways of living together that are desirable rather than focusing on
resolving an undesired situation.
Defining the aim
In reasoning from ‘social cohesion’ to the aim of the design, Tromp took various intermediate
steps supported by literature, interviews and observations. These steps represent reasoning
that is reflected in a series of decisions. After each decision, Tromp asked herself: “OK, but
how?” The sequence of decisions, including a short argument, are presented below:
1. Social cohesion
Social cohesion is a double-sided sword: strong cohesion in a group inevitably means strong
exclusion of outsiders. Therefore a ‘light’ version of cohesion is desired when a neighbourhood
has to deal with newcomers from various backgrounds.
2. Number of relationships
Simply put, cohesion is about relationships. Realizing cohesion thus means realizing relation-
ships, in this case between people from various backgrounds. However, based on the ‘light’
cohesion aimed for, we do not aim for deep friendships but ‘only’ try to increase the number of
starting relationships.
3. Contact Initiatives
To realize relationships, one needs to realize contact in the first place. Realizing contact be-
tween people from various backgrounds has been the aim of several existing initiatives, e.g.,
neighbourhood barbeques. However, it has been shown that simply putting people from vari-
ous backgrounds into contact with each other in a group setting often only increases stereotyp-
ing. Based on this insight, Tromp wanted to optimize the conditions for contact based on own
initiative rather than to bring people into contact.
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4. Acquaintance
Acquaintance is a condition for contact. People need to have a first impression of the other per-
son before they will start any contact. Especially with people from different backgrounds, this
acquaintance is hard to realize and is easily based on group identity. This means acquaintance
can increase stereotyping. Acquaintance is gained through information gathering, but to avoid
stereotyping, this has to be personal information.
Therefore the aim was defined as: support people in exchanging intimate and personal infor-
mation.
Designing the means
Iterative testing of various concepts and ideas gave insight in where to realize this information
change (supermarket, library or housing complex), through what medium (photo’s, written
text, objects or voice recording), and in what setting (group, dual or chain-like exchange of
information). Based on the tests, Tromp got insight in what individual concerns to address with
the design to effectively elicit information exchange.
The Gift Box
The final design is a box including audio recording. The box asks a resident of the area to put
in a personal object that (s)he would like to present as a gift to a neighbour. Attached to the
gift (s)he is asked to record a personal message that explains how the object is related to her/
him. The service delivers the gift to someone living nearby, but who is unknown beforehand.
Afterwards, the giver will receive a postcard explaining which address received her/his gift.
Receivers get the box unexpectedly which aims to trigger their curiosity and thereby persuade
them to open the package. Receiving a gift from someone in the neighbourhood accompanied
by a personal message should trigger people’s reciprocity norm. This norm increases the
chance that people will respond positively to the question to pass on a gift to someone else in
the neighbourhood.
By means of the box, one resident is linked with two neighbours; one with whom he gets ac-
quainted and one who gets acquainted with him. Thanks to the gift it should not only become
easier to get into contact with each other, the gift also offers a concrete starting point for con-
versation.
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Figure 1. Tromp’s (2007) final design: ‘The Gift’, a product-service combination to increase the social
cohesion within a multicultural neighbourhood.
3.2 Case 2: Design for Women’s Position at The Labour Market
In contrast to the often-mentioned phenomenon of ‘the glass ceiling’ that women who aim for
top positions can be confronted with, Borgonjen focused on the so-called ‘sticky floor’. This
term symbolizes the fact that women, even highly educated women, often get stuck somewhere
halfway the company’s hierarchical ladder. This phenomenon was the starting point for her
project.
Defining the aim
Similarly to the first case, the decisions made in this project were taken by continuously ask-
ing the question: “OK, but how?” The sequence of decisions, including a short argument, are
presented below:
1. Career Mobility
Based on her research, Borgonjen found that women do not necessarily aim for top posi-
tions, but do aim for continuous personal development and challenges. She therefore wanted
to increase women’s career mobility in order to improve their positions. She believed that by
increasing mobility in general, mobility towards the top would be facilitated at the same time.
Borgonjen took a holistic view and recognized the influence of family on work choices. She, for
instance, considered designing something that would increase the (male) partner’s commit-
ment to family care to increase a woman’s career mobility. However, based on her conviction
that women should be empowered to change their situation, she focused on women in their
work situation.
2. Job Opportunities
Increasing a woman’s career mobility requires organizations to offer women opportunities to
move within the organization.
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3. Recognition
Before being able to offer opportunities to women, a company needs to be able to recognize and
value female talents in the first place, e.g., a woman’s talent to think holistically.
4. Visibility
Logically, perception precedes recognition. In other words, visibility of these talents is a condi-
tion for valuing them.
The aim of the design was therefore defined as: support women in audaciously communicating
their visions for the company (e.g., for future directions of the company or projects to initiate).
Designing the means
Based on this aim, Borgonjen developed several concepts. By making mock-ups of these con-
cepts and discuss them with future users, Borgonjen got insight in what women valued in each
concept. Based on this feedback she chose a concept and used her gathered insights to optimize
it. In order to understand whether the design indeed addressed the concerns she intended to
address, she carried out a longitudinal user test.
Label
The final design is a product-service combination that supports women in developing a vision
in such a way, that they feel challenged to work on it and feel confident enough to present it
within the organization. The most important aspect of the design is that it supports women to
develop their visions in a social setting. The product is a USB device including a camera and
led-display. The led-display randomly shows a word related to the theme of interest and for
which the woman wants to develop a vision. By visibly carrying the USB-device that displays
the word, she and colleagues are triggered to discuss the theme of interest. By means of these
small talks, she is encouraged to check her ideas with colleagues and subsequently to collect
inspiration and arguments. The camera allows her to capture the moment in a visual manner.
When the USB-device contains 5 pictures, the device indicates that uploading needs to be done.
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Figure 2. Borgonjen’s (2009) final design: ‘Label’, a product-service combination to improve women’s
position at the labour market.
When plugging in the USB-device, automatically a software program will be activated. The
program allows her to structure the pictures in an intuitive manner, add labels to them to ex-
plain what was collected, and subsequently to either quit the program to collect more pictures,
or to make a presentation based on the material.
The product supports women in pre-checking their ideas to strengthen their confidence for
presenting; first, by verbalizing their ideas and checking whether arguments are sound, second,
by creating a feel of whether her ideas are supported by colleagues. By making it challenging
to work on a vision, Borgonjen optimizes the conditions for women to actually present it and to
become more visible in the organization.
4. Analysis of Cases
An analysis of the process in both projects is done to understand what decisions were made,
how they were made and on what grounds. This concerns the sequence of decisions made to
decide upon the aim of the final design. Subsequently, both designs have been analysed to
understand how they intend to realize this predefined aim.
4.1 Systems Thinking
In both cases a similar reasoning was shown to bring the large-scale complexity of the social
problem back to a manageable aim to design for. Both designers converged the social problem
to a design problem by intermediate decisions based on probability. A typical decision in case
1 was to increase acquaintance in order to make contact initiatives more probable to occur.
Similarly, the visibility in case 2 makes it more probable that female talents will be recognized
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within the organization. Both projects aimed to optimize the condition for particular change to
happen rather than directly changing the situation.
This chainlike reasoning is similar to what is done in the field of system dynamics and what
is called systems thinking. Especially in businesses but also in other systems this reasoning is
applied to understand and foresee so-called side effects of interventions (e.g., Sterman 2000).
By understanding the relationships between concepts and by modelling these, it is tried to un-
derstand how an intervention might unintended change these existing relationships and thus
produce so-called side effects. However, in such modelling the intervention often is known. In
the design projects we described in this paper, we saw this reasoning was done backwards to
understand what the intervention should be to realize a desired ‘side effect’.
4.2 Integrative Thinking
What we recognized in both cases are the different perspectives that were taken to first define
the aim of the design and second how to realize this by means of design. Both the aim ‘to
support people in exchanging intimate and personal information’ and ‘to support women in
audaciously communicating their visions for the company’ were defined with a specific social
implication in mind. In the first case, this aim was defined to increase social cohesion and in
the second case, to increase women’s position at the labour market. These implications are
typically based on concerns we have as society. Collective concerns about safety and harmony
underlie the need for cohesion, and concerns about gender equality underlie the need for a
better position of women at the labour market.
This social perspective differs from a user perspective that is more common in designing. Both
aims, that refer to support of particular behaviour, are based on what we need as society rather
than on individual needs and desires. Although the individual is part of society and therefore
shares these collective concerns, the behaviours the design aims to support do not clearly ad-
dress individual concerns as such. Even more so, the behaviours are said to occur too sparsely
in current society, which means there are reasons why people do not display the mentioned
behaviours. People simply do not happily exchange intimate and personal information with
people they do not know or even fear. And women do not easily audaciously communicate their
visions in a company culture that is masculine and in which prejudices about women’s compe-
tences can still exist. In other words, the behaviours are obstructed by several individual con-
cerns about competence, safety, acceptance or privacy. The proposed designs address different
individual concerns to overcome these clashes between individual and collective concerns.
This skill of designers to handle conflicting perspectives has been described as a fundamental
characteristic of a design thinker. According to Brown “the willing and even enthusiastic ac-
ceptance of competing constraints is the foundation of design thinking” (Brown 2009, p.18).
Ever since we design products, the aim is to achieve the best balance between product aspects,
e.g., usability and aesthetics. In line with this, Dorst proposes to regard design problems as
paradoxes established by a clash of, what he calls, competing ‘discourses’ (Dorst 2007). In do-
ing so, design paradoxes are not limited to product aspects, but can be formed by competing
value systems of the various stakeholders in the project. Having incorporated this theory in
a student design project, Hansen, Dorst and Andreasen (2009) show that these stakeholders
can be the various people that are somehow dealing with the product in use, or members of the
design team.
The idea of design as a means to overcome paradoxes caused by clashes of value systems there-
fore applies very well to the projects discussed in this paper that show that design can overcome
clashes between individual and collective concerns.
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4.3 Human Centeredness
Another important skill we recognized in both cases to realize the product aim, was the de-
signer’s human centeredness. To overcome the barriers to display the behaviour, both design-
ers took a, what is often referred to as, human-centred approach. They gathered the insights
to understand how to design a product that makes the behaviour nice, pleasant, comfortable,
intriguing or normal for the user. In case of the Gift Box, the design makes use of people’s reci-
procity norm to give something back when something has been given. By first receiving infor-
mation, giving information becomes simply a normal thing to do. The fact that the gift triggers
curiosity and greed aims to make it a pleasant experience. And by providing the service as an
in-home service, people are not physically confronted with each other and do not have to make
effort to leave the house. In this way, barriers like being fearful or being unwilling to put effort
have been overcome. In case of Label, the design provides an intriguing means to develop a
vision for the company and thereby aims to make it a pleasant experience to do so. The fact that
it stimulates social interaction amongst colleagues should support the development of sound
arguments and social support for her ideas. These aspects should realize confidence to actually
present the vision and thereby overcome concerns about competence or social acceptance.
Figure 3. The two steps in the process when designing for social problems, i.e., defining the aim and
developing the design, and the three important skills in this, i.e., systems thinking, integrative thinking
and human centeredness.
5. Discussion
On the basis of these cases we would like to discuss whether designers bring unique value into
this new domain of social issues. The Gift Box is currently being realized as one of the projects
that social workers from Foundation ‘Boog’ offer to governments as intervention to increase
cohesion. On the basis of an extensive pilot study on the effects of the Gift Box, the foundation
saw the Gift Box appealed to many people including people who were not attracted by regular
interventions. Anecdotes exist of lonely people who normally would be too anxious to visit
public events, realized contact with others by means of the Gift Box. This feedback supports
our idea that the capability of designers to be human-centered in developing interventions is a
valuable skill in this domain.
Although we cannot proof these designs will eventually contribute to society as intended,
the type of solution can be evaluated in relation to current solutions. As said before, design is
unique in comparison to subsidies and legislation in both the form and the strategy it uses to
change behaviour. Subsidies and legislation are top-down interventions that try to set the norm
of what is ‘good’ behaviour in a very explicit manner. The designs, i.e., the Gift Box and Label,
are product-service combinations that aim to optimize the conditions for particular behaviour
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to happen rather than explicitly propagating the behaviour. Based on what we know about how
product influence can be experienced, the designs are seductive rather than coercive or persua-
sive, adding a pleasant experience to the behaviour (Tromp, Hekkert & Verbeek, accepted). The
fact that design can thereby transcend clashes of concerns appears to be a unique aspect of the
solution in comparison to other solutions that use the strategy of forcing or persuading people
to act on the basis of collective concerns.
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